don’t take your love to town
Belvoir presents
DON’T TAKE YOUR LOVE TO TOWN Adapted by EAMON FLACK & LEAH PURCELL From the book by RUBY LANGFORD GINIBI Director LEAH PURCELL This production of Don’t Take Your Love to Town opened at Belvoir St Theatre on Saturday 1 December 2012. Artist LORNA MUNRO Lighting Designer LUIZ PAMPOLHA Composer & Sound Designer STEVE FRANCIS Musician NARDI SIMPSON Stage Manager ROXZAN BOWES With LEAH PURCELL
Thank you Eora TAFE; Bek Smith. Photography Heidrun Löhr DESIGN Alphabet Studio
Co-Adaptor’s Note Eamon Flack
In the simplest terms, our adaptation of Don’t Take Your Love to Town is about how Ruby came to write her first book. But of course nothing is ever that simple. Don’t Take Your Love to Town is one of the country’s great books. Like, for example, David Marr’s biography of Patrick White, or A.B. Facey’s A Fortunate Life, Ruby Langford Ginibi’s memoir is the story of a single life that also manages to be something of a national chronicle – though of a special kind. If we take the usual list of events we call ‘Australian history’, Don’t Take Your Love to Town starts in the Depression and ends in the Bicentenary – and like many lives of that period it begins in the country and ends in the city. But Ruby’s story is not only ordered by the usual list of events. For the large part it takes place beneath them, in a stream of history which is less national and more about the basic battle to live. That battle is a universal one – it turns up in, say, Leo Tolstoy, George Orwell, Bertolt Brecht’s Mother Courage, the stories of Henry Lawson. By this classic measure alone, Ruby’s particularly massive battle to live deserves ongoing attention. But more astonishing is this: Don’t Take Your Love to Town is only about the first half of Ruby’s life. Its ending is just the beginning. In this sense there is another kind of history at work in Ruby’s story which both amplifies the massiveness of her battle to live and amounts to a whole alternative to the usual national history: her story begins in the last days of Bundjalung as an unbroken, living language and ends with the publication of a book, and that book isn’t the summation of something so much as the start of something. By writing her book, Ruby achieved what
poor old Mother Courage never did: she made some sense of her situation and in doing so, changed it. In writing her first book, Ruby became a new kind of elder – a city elder, a keeper of the kind of knowledge and wisdom essential to a revitalised way of life in radically different historical circumstances. This is a grand achievement. I have an old paperback of Ruby’s book, its original 1988 edition, which I bought in a second-hand bookshop. It had been well-read; the spine was concave, there was air between the tanned pages and the whole thing had that lashed-to-apole shape which paperbacks get after numerous reads. When I sat down to turn it into a script I nearly bought a new copy to scribble on – I guess out of some sense that this copy had become an artefact and should be respected. But then I went ahead and covered every page with scrawls and notes anyway, and that felt right, to use this anonymous old copy, and to be just one more reader of many. I have to say a special thank you to Bek Smith for typing up my scrawls and annotations: you saved me days. As for Leah: she is one of Ruby’s many inheritors, and working with her on this was all grace and toughness and light. It’s been one of the unmitigated pleasures of my working life. The words Leah speaks are almost entirely from Ruby’s book; we have added a handful of linking lines of our own and a single passage given to us by Ruby’s daughter, based on a story Ruby often told about how she was given the name Ginibi. We had to lose some gems from this book on its way to the stage, but the book is back in print now, so you can always flesh out what we’ve given you here by sitting by an open window and having a read.
Co-Adaptor & Director’s Note Leah Purcell
I would like to acknowledge country where we have gathered tonight. I would also like to acknowledge Elders past and present and acknowledge Dr Ruby Langford Ginibi and her mob, family and friends. It is always awesome to be invited to be a part of a creative development on a new work. This is Eamon’s and my first attempt at co-writing (adaptors is a more appropriate title for this gig) and I think it has been a great partnership. In the early nineties I voiced the Don’t Take Your Love to Town audio book; Ruby wanted me to do it. She admired me for my work at the time and over the process of recording the audio book I admired her for her story and achievements (authoring of many books and a double Doctorate!). She gave me great inspiration, love and support right up until her passing. Eamon had read the book and thought it was a very worthy yarn and would be a great challenge to bring this story to the stage. I was approached to come on as the co-adapter and director and later realised I would perform as well (Aunty Ruby had a hand in that). Aunty Ruby took care of the writing for us, but the challenge was to get to the core of this gigantic story. We started well – the storyline that we both favoured was the same and that was a relief to say the least because if we didn’t agree to that... well... I don’t know if we would be here tonight. We agreed on the verse format that allowed us to move around and through this wonderfully big, juicy story at a pace. The music was important as I knew Aunty Ruby loved her music and had a joy for singing and dancing in her early days. A 50-page monologue is a big job for both actor and audience, but a minute ask when you consider that someone had lived this life! This two-act play is pure storytelling, an intimate space where
neither actor nor audience can hide, the actor’s voice taking us on this journey, accompanied by guitar and vocals while we piece together Ruby’s story with the extra layer of visual art; all this true to the traditional storytelling of my people but in a contemporary form, here and now. It is important to point out that Aunty Ruby’s story isn’t unique – there were many women, black and white that went through what she did. But did any of them triumph and go on to achieve a dream, let alone the one Ruby set for herself: to one day write a book? This would have been an absolutely absurd thought for this young Aboriginal girl from Coraki, abandoned by her mother, raised by her father and extended family all over the far north coast of NSW, four men who loved her, fathered nine children with her and left her. Ruby lived through a time when bush blacks became city dwellers who had to put culture on the back burner just to survive; Ruby did that, but never forgot who she was and where she came from. She achieved her goal with the love and support of her children, adopted children and friends, but she had to have the desire, the strength and determination. Through our journey tonight you will come to know how much so. I want to thank my production team for working extremely hard in helping me bring this production to fruition. I want to acknowledge their support, love and expertise. Big love to Nardi Simpson for her beautiful voice, talents on the guitar and for diving in the deep end with me. Also to Lorna Munro for her talents and striking artwork which is her interpretation of Aunty Ruby’s life journey. And big love to Roxzan Bowes who is the best stage manager I could have wanted and needed for this production. Thank you Ralph,
Brenna and the Belvoir team for putting your faith and trust in me as co-adaptor, director and actor! Thanks Eamon for your hard work on the script and your dedication and expertise – I think we make a great team. A big thank you to my agent, Katherine Dodd, and the Creative Representation team. I would like to thank Aunty Ruby’s daughter, Pauline, who has been a great support for me in this process. Also a big thank you to adopted daughter Dr Pam Dahl-Helm Johnston and her husband Butch Singleton Hooper for coming to our first read through and telling us wonderful stories and jokes about, and from, Aunty Ruby. I thank my wonderful partner Bain
Stewart for his patience, support and love. To my grandchildren Wurume Rafael and Lysander Wahn, Nana loves you!! And finally, to the woman herself, Aunty Ruby, thank you for your story, for your strength, your laughter, your generosity in the sharing of knowledge and wisdom and for you being you. Thanks Aunt for your love and support throughout my career and how you had touched my life in the years that we had known each other. Thank you for the phone calls before you passed to share your excitement and support for this project. I know you’ll be with us and have been since this has started; I hope I make you proud. Lots of love and the deepest of respect. RIP Ginibi, big love from Bungabura!
The Balnaves Foundation Supporting Don’t Take Your Love to Town The Balnaves Foundation is a private philanthropic organisation that was established in 2006 by Neil Balnaves AO to provide support to charitable enterprises across Australia. It supports eligible organisations that aim to create a better Australia through education, medicine and the arts with a focus on young people, the disadvantaged and Indigenous communities. The Balnaves Foundation is funding Belvoir’s Indigenous theatre program from 2011 to 2013. Each year the Foundation provides the financial underpinning for Belvoir to present two Indigenous works, one in both the Upstairs and Downstairs Theatres. A range of access programs are attached to the productions, including an unwaged performance and schools matinees.
In 2011 The Balnaves Foundation supported the presentation of Jack Charles vs The Crown and Windmill Baby. In 2012 it is supporting Beautiful One Day and Don’t Take Your Love to Town. In 2013 the Foundation will be supporting Coranderrk and The Cake Man. In addition, the Foundation is supporting a new playwriting award for three years from 2012. The Balnaves Foundation Indigenous Playwright’s Award is a $20,000 award for the creation of a new play by an Indigenous playwright. Under Artistic Director Ralph Myers, Belvoir continues our commitment to presenting significant Indigenous works and engaging Indigenous artists at Belvoir in both our Upstairs and Downstairs Theatres. Belvoir extends our warmest thanks to The Balnaves Foundation for its ongoing support.
Biographies RUBY LANGFORD GINIBI Ruby Langford Ginibi (1934–2011) was born on Box Ridge mission, Coraki, and was a member of the Bundjalung people. She grew up in Bonalbo and later Casino, NSW. Her autobiographies Don’t Take Your Love to Town (1988) and Real Deadly (1992) describe her life in the bush and later in Sydney raising a family of nine children. Recognised as a spokesperson, educator and author of Koori culture, she travelled and lectured in Australia and abroad, and her essays are widely published. Her tribal name “Ginibi” (black swan) was given to her in 1990 by her aunt, Eileen Morgan, a tribal elder of Box Ridge mission. She returned to Bundjalung country to re-establish connections with her family, community and land she left as a child. My Bundjalung People is an account of her journey home, and was published by University of Queensland Press in 1994. EAMON FLACK Co-Adaptor Eamon is Associate Director – New Projects at Belvoir. He graduated from the acting course at WAAPA in 2003 and has since worked as a director, actor, writer and dramaturg. For Belvoir he has directed Babyteeth, As You Like It and The End, and was a co-devisor of Beautiful One Day, which is playing concurrently in the Upstairs Theatre. His dramaturgy credits for Belvoir include The Wild Duck, Neighbourhood Watch, The Book of Everything and Gwen in Purgatory. Eamon’s production of A Midsummer Night’s Dream (B Sharp/Bob Presents/ Arts Radar) toured nationally in 2011, and
his production of Wulamanayuwi and the Seven Pamanui for Darwin Festival will tour nationally in 2013. He has adapted and directed Gorky’s Summerfolk (Bob Presents) and his adaptation of Antigone was produced at the Perth International Arts Festival and published by Currency Press. Eamon will direct Angels in America for Belvoir in 2013. LEAH PURCELL Co-Adaptor/Director/ Performer Leah is an actor, writer, musician and director. Her theatre credits as an actor include The Dark Room, Stuff Happens, Parramatta Girls, The Marriage of Figaro, Box the Pony, which she also co-wrote (Belvoir); Blood Wedding (Sydney Theatre Company); The Story of the Miracles at Cookie’s Table (Griffin Theatre Company/HotHouse Theatre); and Beasty Girl: The Secret Life of Errol Flynn (Melbourne International Arts Festival). Her film and TV credits include Jindabyne, Lantana, The Proposition, Redfern Now, My Place, Love My Way and Police Rescue. Leah’s awards include a Helpmann Award for Best Female Actor in a Play for The Story of the Miracles at Cookie’s Table; a Film Critics’ Circle Award and an IF Award for Lantana; an IF Award for Black Chicks Talking; two Actor of the Year and one Singer of the Year Deadly Awards; the inaugural Bob Maza Fellowship; and the prestigious Eisenhower Fellowship for her artistic endeavours, community philanthropy and cultural activism.
ROXZAN BOWES Stage Manager Roxzan graduated from VCA in 2011 and was awarded the Orloff Family Trust Scholarship in her final year. Her credits include SUPERTONE (NextWave Festival); EnTrance (Yumi Umiumare); and Pieces for Small Spaces (Bluebottle for Lucy Guerin Inc.). She has also recently worked as assistant stage manager for An Act of Now (Chunky Move); The Marriage of Figaro (Victorian Opera); Pygmalion (Sydney Theatre Company); and Fashion Full Stop (L’Oreal Melbourne Fashion Festival). Roxzan has also worked in lighting design (Blue Surge, Husk Theatre), sound design (The Hour We Knew Nothing of Each Other, Tantrum Theatre) and scenic photography (The Vertical Hour, Sydney Theatre Company). She also works as a lighting technician and was the swing floor electrician for the Melbourne season of Love Never Dies (Really Useful Company). STEVE FRANCIS Sound Designer Steve has worked extensively in theatre, dance and screen. His Belvoir credits include Babyteeth, The Book of Everything, Gethsemane,The Power of Yes, Ruben Guthrie, Baghdad Wedding, Keating!, Paul, Parramatta Girls, Capricornia, The Spook, Box the Pony, Gulpilil and Page 8. Other theatre credits include Bang (B Sharp/Whitebox Theatre), Jesus Hopped the A Train (B Sharp/murri fulla films), Vital Organs (B Sharp/Easily Distracted); Pygmalion, Bloodland, Blood Wedding, The White Guard, The Removalists, Tusk Tusk, Gallipoli, The Great, Rabbit, Pig Iron People, Romeo and Juliet, The Taming
of the Shrew, Embers, The 7 Stages of Grieving, Stolen (Sydney Theatre Company); This Year’s Ashes, Speaking in Tongues and Strange Attractor (Griffin Theatre Company). For dance Steve has composed music for Belong, True Stories, Skin, Corroboree, Walkabout, Bush and Boomerang (Bangarra Dance Theatre); and Totem (Australian Ballet). Steve has also composed for film and TV. His awards include Helpmann Awards for Best Original Score and Best New Australian Work. LORNA MUNRO Artist Lorna is a proud Wiradjuri/Gamilaroi woman. She recently graduated from UTS with a Bachelor of Arts in Adult Education and Community Management. Lorna has been an active member of her community since the age of 13 and has travelled to New Zealand and South America for cultural exchange and youth leadership programs. Recently she performed in plays at Eora College, including A Midsummer Night’s Dream, and has appeared in Australia on Trial, a docu-drama for the ABC. Lorna is also an emerging artist and has displayed work in Boomali’s 2010 exhibition: Celebrating 25 Years of Strength. Lorna broadcasts the Poetry, Politics and Petitions program with her mother on Koori Radio. She has worked with the Red Room Company and had work published in Southerly.
LUIZ PAMPOLHA Lighting Designer Luiz is a NIDA graduate whose credits include Belvoir’s Ruben Guthrie and Antigone: The Burial at Thebes; and for B Sharp Love (Inscription), Half and Half (The Chess Club), Blasted (Sheedy Productions), Now That Communism is Dead My Life Feels Empty (Kitchen Sink), A Number and 7 Blowjobs (Frogbattleship). Other credits include The Kid, The Story of the Miracles at Cookie’s Table, The Nightwatchman (Griffin Theatre Company); Love-Lies-Bleeding, The 7 Stages of Grieving (Sydney Theatre Company); Waikiki Hip (Sydney Theatre Company’s Wharf2LOUD); Hitler’s Daughter, The Prospectors (Monkey Baa); Somewhere, Weather (Q Theatre Company); This Territory, Boy Overboard, Back in Your Box, Three Little Fears (Australian Theatre for Young People); Cloud 9, The Illusion, The Drowned World, Bone, The Mystery of Irma Vep, Love’s Triumph, Bangers and Mash and The No Chance in Hell Hotel (Darlinghurst Theatre Company). Luiz has received Sydney Theatre Award nominations for Best Lighting Design.
NARDI SIMPSON Musician Nardi is a Yuwaalaraay woman from northwest NSW, living and working in Sydney, and is a passionate writer, performer, songwriter, educator and storyteller. A member of acclaimed Indigenous vocal group Stiff Gins, she has travelled and performed extensively in Australia and overseas and has released three albums, including the most recent Wind & Water in 2011. Nardi is also a member of the band Freshwater, a group dedicated to learning, reviving, sharing and singing the languages of NSW river people. Nardi was a cast member and associate music director of I Am Eora (2012 Sydney Festival).
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